OPERA America draws on resources and expertise from within and beyond the opera field to advance a mutually beneficial agenda that serves and strengthens the field through programs in the following categories:

Creation: Artistic services that help artists and companies increase the creativity and excellence of opera productions, especially North American works;

Presentation: Opera company services that address the specific needs of staff, trustees and volunteers;

Enjoyment: Education, audience development and community services that increase all forms of opera appreciation.

New York City is home to the nation’s largest concentration of performing and creative artists, professional training institutions and music businesses. A majority of OPERA America’s Professional Company Members hold or attend auditions in New York City annually, and opera leaders from Europe and around the world are regular visitors.

In response to the pressing need for appropriate space in New York by members who suffered from the lack of good audition and work facilities in the city, OPERA America created the National Opera Center. The Opera Center serves many functions that support the artistic and economic vitality of the field by providing its constituents with a range and level of services never before possible.

OPERA America serves members across the entire opera field through research, publications and services in support of the creation, performance and enjoyment of opera. Our work is only possible with the generous support of donors dedicated to the future of opera in America.

Inspired by Edward Hopper’s classic American paintings, this opera was written by contemporary composer John Musto and librettist Mark Campbell. The story reveals the hope, longing and love of characters in five Hopper paintings as they step out of their frames and come to life one night in 1932 New York.

Elaine O’Neill sits at a piano and prattles about her day while figuring out the notes to “Whadayasay?” a song from the new Broadway musical, Tell Me Tomorrow, which she and her husband, Gus, are going to see that evening. Gus reads the paper and ignores her, occasionally interjecting remarks about the news and his job as an account manager for an advertising firm. Suddenly, they realize they have to get ready for the theater. When Gus leaves the room, Elaine admits to their estrangement, despite the idyllic appearance of their marriage from outside their apartment window. Gus reenters, begging off, and Elaine storms out. After she has left, Gus calls someone to meet him at his favorite bar, Clancy’s.

Scene 2: A hotel lobby

Estelle Oglethorpe waits nervously for Mr. Cabral to arrive–her first date since the death of her husband, James. She looks out the hotel lobby window to the busy street, which beckons her to move beyond her insular life in Greenwich.

Scene 3: A street

Gus looks forward to being at Clancy’s, away from his frustrations with his home life and job, where he manages, among others, the advertising account for Pearladent toothpaste.

Scene 4: A room in the Hudson Hotel for Young Women

Ruth Baldwin shuts off her radio, which is broadcasting the Pearladent jingle, and reads a letter she has just written to her boyfriend explaining that she is leaving him to move back home to Indianapolis after a failed career as a dancer. She finishes packing and stares out her one window for the last time. Ruth, Estelle, and Elaine (on her way to the theater), each convey their need to move on in their lives. Elaine leaves; Mr. Cabral arrives to accompany Estelle to the theater; Ruth shuts her suitcase and goes.

Scene 5: The Broadway theater where Tell Me Tomorrow is playing

Rose and Sheldon Segal arrive at their seats and bicker, while Valentina Scarcella, an elegant woman from Parma who speaks very little English, sits reading her program. Elaine arrives; behind her is Jimmy O’Keefe, a young man visiting from Lynchburg to whom she has given her extra ticket. The usher, Thelma Yablonski, shows them to their seats. Joe Harland enters and tells Thelma that he is awaiting the arrival of his girlfriend, a dancer, and that he intends to propose to her. Mr. Cabral and Estelle enter. As the theater’s houselights dim, Jimmy expresses his excitement about being in New York and at his first Broadway show. The overture to Tell Me Tomorrow strikes up, and, soon after, Joe runs out of the theater. In a truncated sequence, the members of the audience watch the musical, conveying in their faces what is happening onstage.

The houselights come up, and everyone files out of the theater. Valentina, in Italian, vents her frustration at not comprehending the musical she has just seen—or life in this strange new country.

Scene 6: The theater’s marquee

Elaine, Jimmy, Rose, Sheldon, Mr. Cabral, Estelle, and, later, Valentina are huddled under the marquee during a pounding rain. On another street, Joe, devastated by Ruth’s departure, clutches the letter he has just received from her. Ruth, on a train nearing Philadelphia, regrets leaving New York, while Jimmy decides he will move to the city. The various pairs leave, sharing a cab or walking into the night alone. Elaine is about to go when Gus, who has obviously been drinking, appears. He breaks down, telling Elaine about his feelings of inadequacy as a husband. After a beat, she takes him home, chattering about the show.

Scene 7: An automat

Thelma muses about her life and the odd excitement of the city. She is about to go home when Joe enters, telling her that his girlfriend has left him. He offers to buy her a drink, then a cup of coffee; Thelma has to get home. Joe asks if he can walk her to the subway. She says, “Yes.” The rain has ended.

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All OPERA America facilities are handicapped accessible. The National Opera Center features ground-level entry with elevators to the venue. All spaces are wheelchair accessible, and modular seating can be arranged to accommodate wheelchair users for all programs and performances. Handicapped accessible restrooms are available on all floors.